THE INFINITE #1

If you have a nostalgia for 90's Image comic-booking, then by all means: buy the shit out of this book. Buy all 7 variant cover editions. You will be transported back in time, and you'll love this new series. If you have a less...enthusiastic view of the 90's and that decade's place in comic book history, maybe skip this one. Also, if you are one of the 5 people that will be upset about me speaking ill of your lord Rob Liefeld: skip this review. You'll be mad at me.

I'll be honest: the ONLY reason I picked this book up was the fact that Robert Kirkman wrote it, but I'm not even sure I believe that to be true. By the time I finished this issue, I was sure that Liefeld just pretended to be Kirkman to add some cred to his book. Mr. Kirkman is, right this second, bound and gagged in Liefeld's basement, being force-fed Grape Nuts cereal and wearing a wig while the former superstar penciler wears a hobo's face as a mask and dances around. I'm certain of it.

But for the sake of an argument, let's say that isn't the case. I know that writers, when paired with certain pencilers, tend to write to that artist's strengths. But what do you write when said artist's strengths consist of lipless, grimacing teeth, shoulder pads and pouches? Well, let's just say that my opinion of the writing matches my opinion of the art in this book. I know I'm breaking Mama Destructo's cardinal rule about saying nothing if you have nothing nice to say, but good god. Let's go back to the aforementioned pouches. On page 2, our main man Bowen has an entire belt rigged with no less than 9 pouches that are in view. Yet on page 5? They've gone away. Page 6: there are 2. So on and so forth. The same applies for the character's completely useless arm and leg bands. Also, there's a very important belt in the beginning scene. It's nowhere to be found until it becomes important, as if Liefeld only read the panel descriptions as he drew them and then decided "Whelp...too late now! Eff that belt and its utter importance to the plot." At least the very awkward and improbable shoulder pads are mostly consistent. Quick note: the villain's emblem is the Image logo upside down and on his head.

To be writing a review this negative about a book that Robert Kirkman is involved with hurts me. I wish I felt more positive about this experience. I went in hoping that even if I wasn't into the art, the story and dialogue would be interesting...but there's nothing here I haven't seen before. In the 90's.

JD can be found hosting the PopTards Podcast, drawing a weekly webcomic, discussing movies, comics and other flimflam over at www.poptardsgo.com, graphically designing/illustrating for a living, and Booking his Face off over here. Follow his twitter @poptardsgo. His talkback name is PopTard_JD.

THE LEAGUE OF EXTRAORDINARY GENTLEMEN: CENTURY: 1969

Last week, Alan Moore decamped from his Northamptonshire townhouse to alert readers of the Guardian newspaper to a distressing development. “These days, the majority of the comic book audience is 40-somethings. There is a large nostalgic component in there. They will want their story to refer to stories that they remember,” he warned.

“It becomes very incestuous. You get stories that have become weak through inbreeding.” The bearded writer, a veteran of the comics industry, pined for the days when he was writing for “nine to 13-year-olds”, with any unsavory older influence limited to “maybe a few 18-year-olds”.

It would be uncharitable to quote Oscar Wilde on “the rage of Caliban seeing his own face in a glass”. Alan Moore must own a mirror buried somewhere in his house, though, judging by his appearance, which has remained more or less the same since the titular year of this latest installment of THE LEAGUE OF EXTRAORDINARY GENTLEMEN, he doesn’t look in it very often.

No one could accuse Alan of having played a part in pushing comics away from nine to 13-year-olds, towards the nostalgic 18-year-old. WATCHMEN. THE KILLING JOKE. 1963. MIRACLEMAN. SUPREME. WHATEVER HAPPENED TO THE MAN OF TOMORROW? The primary appeal of none of these classics was nostalgia, or references to stories the older reader might remember.

Alan, in his visits to his local comic shop, where he signs his latest, scrupulously clean and child-friendly publications, deplores the current crop of X-MEN comics, in which formerly innocent juvenile adventure heroes have been supplanted by ever more sordid tales of adultery and violence.

Alan steers well clear of such profanity. How could their writers, “a generation of comic book fans who would have paid to have written these stories”, so defile their charges? The “nine to 13-year-old” market turns sorrowfully away from the “weak, inbred” offerings of DC and Marvel to Alan’s books, where they happily find the heroine of Bram Stoker’s Gothic Victorian novel DRACULA experiencing a “bad trip” and enjoying promiscuous lesbian sex.

Or Allan Quatermain, of H. Rider Haggard’s ripping yarn KING SOLOMON’S MINES, engaged in a ménage-à -trois with the aforementioned heroine and his bisexual lover.

Or a host of obscure characters from the 1960s, forgotten by everyone but those resolutely un-nostalgic, forward-thinking creators, Alan and his illustrator Kevin, also having lots and lots of sex.

Gay sex, oral sex, lesbian sex, rape, voyeurism, molestation of a woman passed out from a drug overdose. Nothing is here for tears, no weakness, no contempt, dispraise or blame!

We have Alan’s word that the nine to 13-year-old reader, the type of imaginative boy or girl who would thrill to DRACULA or KING SOLOMON’S MINES or THE STRANGE CASE OF DR JEKYLL AND MR HYDE, will also get a kick out of Alan’s book.

Those unfamiliar with Alan’s kid-friendly ouevre might suppose it was aimed more at the stray 18-year-old, or perhaps even the 60-year-old who “will want their story to refer to stories that they remember”.

Anyone younger would not likely remember the admittedly never widely-known, characters that fill the pages of this baffling book.

Still, the nine to 13-year-old who is, for whatever reason, blind to Alan’s charms has plenty of healthy fiction to turn to where that came from. Perhaps he runs, ruddy-cheeked, from the school gates to pester his newsagent for the latest installment of LOST GIRLS or NEONOMICON.

No one could accuse those books of “weak, incestuous, inbred” tendencies.

As he reflects upon the publication of his latest work of fiction, Alan sat reclined in Northampton – or perhaps supine before his shrine to Glycon – and could feel satisfied with a work well done, preserving our valued fictional inheritance for the continued enjoyment and edification of the younger generation, taking a lonely but not profitless stand against the prevailing corrupting influence of graphic fiction.

MIGHTY THOR #4

I have a hard time reviewing comics I really like. I find myself wanting revert to my 8 year old self and just yell out what parts were cool with little to no explanation as to why said events were viewed as such. So I’ll refrain from…FUUUUCKK!!!! I can’t do it…this comic was sooooooo cooooool. Asgardians in space! Thor vs. Silver Surfer! Galactus vs. Odin! Thor vs. Galactus! Seriously, this may be my favorite issue this year! This issue is just balls to the wall (hate that expression but it fits) action. If you like superhero comics, this issue is a must read. I know I just slagged Fraction for FEAR ITSELF but like I said, I like the man’s writing, just not that series. Actually the last INVINCIBLE IRON MAN was badass as well, Tony Stark saying ‘fuck it’ while getting drunk with the Asgardian weaponer gnomes…good shit. Anywho, this comic was a blast; let me tell you why.

The story thus far is that Galactus has sensed a power that he must feed on, and this power is located smack dab in the middle of Asgard, which is smack dab in the middle of Earth…anybody see a conflict here? Odin is being his stubborn self, Li’l Loki is doing something that he believes is helping his brother, Thor is brash and whooping ass, and…um Sif was naked last issue and lost a lock of hair. I really feel like this would have been a way better story to put an event behind. Earth’s Greatest Superheroes vs. Asgard (yeah, I know “Siege” kind of was but not really), Asgard vs. Galactus which inevitably means Galactus vs. Earth’s Mightest Heroes (to me that’s a conflict and a half); where does Thor’s loyalty lie, whose side is the Surfer on, Odin’s obviously not going to do what Earth tells him to but I guess it’s a little close to “Siege” so I’m fine with this being contained to this title.

One of the best parts of this series so far was the description in issue #1 about Silver Surfer and Galactus’ relationship. I knew what it was but hearing it told the way Matt Fraction did put a whole new spin on it for me and made me want to dig out the Silver Surfer comics I have acquired over the years and read them with that thought fresh in my mind. I won’t mention who is kicking whose ass in this comic but FUCK! Thor is a powerful SOB and while I knew that, I was still in awe and what he did at the end of this issue and NOBODY in this comic was happy about it (except for me). This scene is rendered so well, and the dialog from Silver Surfer just shows that something epic just went down. Speaking of epic, Galactus vs. Odin is one of those fights you and your buddies debate about intensely only coming to a stalemate where each one of you swear you’re right but can find no conclusion. Sif says it best: “How do beings such as Odin & Galactus fight?!?!” Good fuckin’ question and I’m sure we only see one aspect of this battle but it’s a fuck of a battle. The art in this comic is stellar…I mean really f’in good. Oliver Coipel is one of the top 5 artists Marvel has he shows you why in this comic. Every issue look great…no, every panel looks great!

This is the kind of shit I want to see in a Thor comic: powers being pushed beyond the boundaries of what was previously thought.

PROJECT SUPERMAN #2

How do you solve a problem like Superman? On one hand you have the league of internet naysayers that decry a warranted, if often harsh, cycle of sameness for this eighty year saga. On the other hand, when a writer does try to break our favorite Kryptonian from the inescapable Phantom Zone of continuity malaise, Superman zealots begin to froth at the mouth with more ferocity than Cujo in heat.

PROJECT SUPERMAN has been no different. Since the piece is set within the confines of the alternate reality extravaganza FLASHPOINT, there is a cacophony of chatter stating the piece has no consequence. Let’s look past the fact that no one knows for sure what the events of FLASHPOINT will ultimately do to the upcoming rebooted DC universe. So what if there’s no consequence? The best Superman stories in recent memory like RED SON had absolutely no bearing on continuity, so does that make the piece any less enjoyable to read? For all of you continuity sticklers, allow me to invoke New Krypton, merely a year after ANOTHER PLANET was formed it is nary a whisper now on the lips of anyone. Then there’s another camp poo-pooing Big S in FLASHPOINT because they believe with the fervor of a Southern Baptist that without Ma & Pa Kent guiding a young Clark there’s no way he could embody the virtues of goodness that have become his pillars of being. To the first group, you’re simply being presumptuous. Unless you are Geoff Johns’ personal taint scrubber, you don’t know what FLASHPOINT will do. To the second group, I say read issue 2 of PROJECT SUPERMAN. Goodness can be found other places than a Kansas wheat field.

Snyder and Francis have created what I will consider to be the first (or first at least in recent years) SUPERMAN psychological thriller. For anyone that’s been cut off from civilization and the first thing you did was log-on to Ain’t It Cool, Superman’s rocket ship didn’t land inside Kansas, but rather Metropolis. To up the realism factor, this meteor shower not only rained down the Last Son of Krypton, but also our favorite dog Krypto and a shit-ton of property damage on the town that Luthor built. Fortunately the American Government was already working on their own enhanced super being, the man we know from the last issue as Subject 0. Uncontrollable due to human frailties such as ego and the need humans have to feel part of a greater whole, project top-dog, General Lane, throws 0 into a stasis…a twenty year stasis. Meanwhile Kal-El is kept under lock and key in a different part of the facility. There, that should get you up to speed.

Issue 2 takes off right where one left off, but before the events of the recent FLASHPOINT, where Batman and Cyborg bust Kal out of his cell only to have him say “fuck this noise” and fly away (I was paraphrasing, in case the hyper-literal are reading this piece). This is definitely a flashback of the years leading up to FLASHPOINT. The first cup of eeriness Snyder delivers is by having the whole piece narrated by Subject 0. Remember, this guy can’t move or verbally articulate--think “Johnny Got His Gun” in spandex. However, what Subject 0 can do is think…and see. He watches Kal-El undergo the same poking and prodding he went through years prior. Subject 0 also now has an epic chip on his shoulder for the entire PROJECT SUPERMAN program.

Using the best in imagined science available, Snyder deftly uses the sub-atomic world to allow Subject 0 and Kal to communicate. Here’s where Kal’s innate goodness truly comes to light. 0 does his best to manipulate Kal, to make him as embittered and roid raged as he’s become. Thing is, young Kal doesn’t want to be bad, he just wants to play with his dog and help people. Yet every man and alien boy will have their breaking point…or perhaps not. Despite abuse, being used as a puppet and (SPOILER) watching his dog be killed in the most gruesome fashion, Kal still does the right thing. When General Lane’s daughter Lois visits the facility and is faced with mortal danger, Kal makes the tough decision to do what’s right despite being subjected to conditions that make Guantanamo bay look like a country club prison.

One could argue that Kal’s actions were spurred by his love at first sight encounter with Lois; certainly the exceptionally crafted last page of the book will lead you to that conclusion. But is that all that’s going on? Personally, I don’t think so. Was Jesus good because of his parenting by Joseph and Mary, or was he simply innately good? How you answer this question will definitely eschew how you read PROJECT SUPERMAN.

Gene Ha’s art continues to add the other dose of creepy to this title. Snyder’s balloons hang on a bleak and dreary backdrop. Even X-ray vision is presented as a burden more than a blessing, always going too far on the translucent scale for comfort.

I could truly care less where FLASHPOINT ends up. There have been more than enough expertly crafted side stories in this event to make me fully appreciate the ride even if the destination is one Cadillac jump into a chasm of nothing. PROJECT SUPERMAN stands ahead of the pack, but there are quite a few other titles nipping at its heels of awesomeness.

Optimous has successfully blackmailed fellow @$$Hole BottleImp into being his artist on Average Joe. Look for Imp's forced labor on Optimous brain child in mid-2011 from COM.X. Friend Optimous on FaceBook to get Average Joe updates and because ceiling cat says it's the right thing to do.

SECRET WARRIORS #28

SECRET WARRIORS ends this week, meaning that's three series I loved either marked with the black mark (SECRET SIX) or already dead (ULTIMATE SPIDER-MAN). SECRET WARRIORS focused on what is to me at least, one of the more fascinating corners of the Marvel Universe: Nick Fury, super spy, and his never ending wars. Hickman, in twenty eight issues, helped flesh out Nick Fury beautifully and explore who he is and why he does it. The issue, apart from a few small problems, is a nearly flawless finale to the series.

Writing: (4/5) As always, Hickman writes a solid script that never fails to impress. It shows clearest with the dialogue, almost each and every conversation crackles and flies fast. The back and forth between Fury and Contessa snaps, and reveals some guarded hidden emotion under both. Duggan and Fury is a well written moment as well, but the best moment is when Hickman explores the relationship between Steve Rogers and Fury. It reads with a certain bittersweetness, and feels like old friends departing down separate roads. It conveys so much about Fury and his own ideas of the world, especially post war with Strucker. This is a Fury who has lost many of a small group he called friends and family, and has since learned a certain regret not affiliated with the character. When Steve Rogers, a fallen friend now returned, thinks they should destroy the statue in Arlington of him, Fury replies they should make it bigger.

Now, it's just preference, and it may not slow down any other readers, but I think it ends too well. This series has worked brilliantly its entire run, and one of its strengths came from the unpredictable nature, and the darker nature of the series world. Main characters are maimed, killed, and betrayed left and right. It gave the series a very real feel (even when they were fighting people with black demonic star fish on their faces), and invested the reader magnificently. However, the conclusion to the series is rather upbeat. The surviving cast reunites, the heroes win, and Fury disappears into his next mission (which I'd give anything to read). I think it's too neat of a bow. I'm not saying I wanted it to end in a bloodbath or a broken world, but by the end of the story, really only Nick is affected by even a bittersweet twinge. And even then, it's Nick Fury, who trudges onto his next mission. I would have preferred a slightly more down ending. I just don't think it meshes perfectly into the rest of the series.

It's really a preference thing. I'm bothered by the nice ending, so 4. If it doesn't bother you that it departs slightly, then 5.

Art: (5/5) Vitti is a fucking great artist. I loved his work on this series. It works well in fight scenes, but even in a book infected with Bendisitis (heads talking with heads for four pages in a row), the characters stand out. Their designs and look feel real, and make for some fantastic pacing and framing. The shot of Fury and Steve looking at the statue might be one of my favorite pages in a while.

ELDRITCH! #2

In the first issue of ELDRITCH! I wished that the writing matched up with the artwork. In the second book, it looks like Aaron Alexovich has caught his stride and leveled up to Drew Rausch’s drawings.

In “A Hiss from the Cradle” Anya Sobczek follows her brother Owen to his friend’s pool house. There a crazed cult has grown that follows the mythos that Owen and his friend dreamed up as kids. Anya is almost in over her head when Owen gets a call from his mom. Next night, Anya gets in the way of Owen’s babysitting and finds something even darker at the pool house.

The writing is still very talky, containing tons of dialogue. But this time the writing is rich with even a touch of humor. Owen’s cellphone ring tone for his mom, “Jump Magic Jump” from Labyrinth. Along with the humorous elements, there are the mythological components, both original and H.P. Lovecraft-esque. The story itself is more controlled and streamlined, much easier to follow. Even with several flashbacks, the transitions are smooth and even creative. If the series continues in this way then I’ll definitely find it worthy of winning DC Zuma’s contest.

If I had to compare the art style, I’d put it up with INVADER ZIM. Crazed and dark, the drawings fit the tone of the comic beautifully. While the last issue appeared chaotic, Rausch continues to harness such chaos in a controlled manner. He’s the Joker of this comic’s team, an agent of chaos.

It is nice to read a horror comic that doesn’t have to do with zombies or vampires. Originality is rare out there. Maybe others will find more connections than I do, but I’d rather remain in ignorant bliss.

Lyzard is actually Lyz Reblin, a film student at Chapman University. Lyz’s love for comics stems from an internship at Dark Horse Entertainment as a freshman, which may explain why some of her favorite comic book writers are Gerard Way and Steve Niles. You can find her on Facebook, but only if you follow her band: Castle Town Convicts (possibly a Zelda reference?).

UNCANNY X-FORCE #12

I’ve always enjoyed the expected X-FORCE experience. Their mission-to-mission black ops adventures have tickled that portion of my heart that is steeped in the juices of schadenfreude.

This arc, though, is something different. It’s not just because this adventure takes place in my favorite alternate universe, the Age of Apocalypse, nor is it simply because it highlights doppelgangers of old friends like Jean Gray and Nightcrawler. We all had expectations when this book first hit the stands, thanks to Marvel’s airtight brand control. We knew this would be a fringe team. We also knew that certain character traits would be firmly in place like Deadpool’s sarcasm, Angel’s brooding, Wolverine’s surliness, Fantomex’s laissez-faire ambivalence and Psylocke’s gravity-defying ass. What this issue does though, is take these characters beyond the surface traits that have made them so famous. Remender uses this arc and specifically this issue to peel back the onion and see deeper than the pathos or the surface experience to truly examine who these people are beyond Scott Summer’s hit-men.

Since this is the middle of the “The Dark Angel Saga,” some stage setting might be in order. There’s a true irony to this arc name because the solitary moments are so engrossing you easily forget the overarching mission. In short, Angel has been going batty for some time in X-FORCE. Psylocke’s best psychic dampening efforts and sweet sweet counseling still can’t break the downward spiral of Angel becoming the next Apocalypse. For a deeper history on Warren’s relationship with old trout mouth go buy a freaking omnibus. When Psylocke’s tenderness and ass fail to draw Warren back into the light, X-FORCE decides to enlist the aid of my favorite Age of Apocalypse refugee, Dark Beast. After all, if Apocalypse could be defeated in that reality why not ours? Through some science mumbo-jumbo the team shoots over to the reality that gave us a caring Victor Creed and one of my favorite characters from the aught years, Blink, in search of the Life Seed. Dark Beast naturally betrays our heroes, but again thankfully they run into the AoA X-Men, a team complete with their very own Jean Gray and Nightcrawler. The first issue of the arc did a wonderful but expected job with the revelation of these characters. However, Part 2 took these relationships to a level unseen in an X-story, alternate universe or otherwise.

Life Seed, Life Schmeed. For anyone that thought the opening moments of ASTONISHING X-MEN when Wolverine was perched over the bed of Emma Frost and Scott Summers was a pitch perfect remembrance of Jean Gray and the love Logan had for her, hold on to your Cerebro caps. Remender uses the opening of this issue to truly explore the fervent passion these two have, and why it shall forever remain unrequited. While this is not the 616 Jean Gray she’s close enough in genome pattern to get Wolverine’s heart a’ thumping. Wolverine doing what he does best--tries to ignore the intoxicating smell of this almost Jean--but the draw is too great. I can’t do Remender’s words justice so I won’t even try, but his explanation on the draw of Jean as told through Wolverine’s inner monologue borders on poetic. It also doesn’t hurt that Mark Brooks’ art is a lesson on the absolute importance of facial expression details. Honestly, Brooks can create better actors with a pencil than James Cameron ever could with his gazillion dollars worth of equipment. Don’t think for a minute this issue is all talk, even though the moment between Jean and Logan was so well crafted it felt like an eternity; it is but a few scant pages until the AoA’s X-Men hideout is invaded by Sentinels.

The next relationship that seethes across the page and hits you like the Juggernaut on meth is between Psylocke and Fantomex. Not to give too much away, but a bottle of passion has been opened and it explodes like napalm when it hits the air. I think we all saw it coming, but I never expected the sheer impact.

The rest of the issue continues in the hunt for the Life Seed; also, our team needs to find a way back to their own reality by releasing our old Aborigine friend Gateway from a maximum security prison fashioned out of old sentinel parts. The warden of the prison is also a surprise unto itself--one I won’t spoil.

This continues to be one of my favorite X-titles and I believe we are seeing a build-up of the new teams that will be formed when Marvel starts their own renumbering this fall. It’s mere conjecture on my art, but I think the AoA Nightcrawler and Jean Gray will be making it on to Wolverine’s splintered team when he breaks apart from Scott after “Schism.” Again I could be wrong, but the signs are definitely there. For the sake of surprise, I truly hope I’m off base.

TERMINATOR/ROBOCOP: KILL HUMAN #1

I got excited when I saw it was coming out because I haven’t read a comic with Terminator and Robocop in it, so I was stoked. The curiosity of how they are going to tie things together is usually what leads me to pick up these kinds of crossovers. Personally, I kind of think a T-1000 would wipe the floor with old Murphy (don’t get me started on the T2) but ultimately Robocop would win because he’s a good guy and he’d find the will power to overcome, which I’m fine with.

This story takes place in the future where (possibly) the last two humans have just broken into Skynet (why they would do that is beyond me but whatevs) and are being hunted down by an army of Terminators (why I wouldn’t do that). I won’t go into how Robocop ties into this but…he’s in there, in a museum weirdly enough. This comic did surprise me at the end, I’ll give it that, but whether it’s enough to get me to buy the whole series I’m not so sure. I will say I’m kind of a sucker for killer robots in an apocalyptic future, so I’ll probably check out the next issue.

The art in this comic…I’m torn…it’s definitely not amazing but there are times where it looks ok and times where it looks pretty bad. I hope the humans in this comic weren’t supposed to be attractive because everyone in this comic is ugly as hell. The art works for the T-1000 but there are parts where Robocop looks weird, like his torso is 3 times too small for his legs. The art looks a little like Rick Leonardi…if he was being beaten about the head, neck and back while drawing (ok it’s not that bad). I realize I’m a snob when it comes to art in comics so someone else may like it just fine but I wasn’t feelin’ it.

The story wasn’t horrible but I feel like anytime Terminators are involved, especially in the future, the story is the same: last group of humans, last ditch effort, last chance, one last hope, etc. I’m sure some people will eat this up because of the fact that both Robocop and Terminator are occupying the same comic space but this issue left me with a ‘meh’ taste in my mouth. I wanted more and maybe next issue will provide that succulent killer robot teet that I was looking for but for now I guess I gotta stick with futurekillerrobotporn.com.

I will admit, the absolute downside to the oncoming DC reboot, as I’m sure many a retailer will agree, is that everything that as the current lineup of books winds down, everything feels so…anti-climatic. Take this story that has been running through ACTION the past few months. All the Superman family versus a fuckton of Doomsdays! Much punching and property damage (and the occasional death!) therein! Eh. To pile on the decision (or at least split the blame between it and potentially those involved) it really has seemed very fast paced and occasionally exposition-heavy considering the kind of story we’re going on here, which I will assume comes from the decision as well. So, what we have here is a semi-satisfying story that won’t really mean anything in a month that chances are people like I bought because we didn’t want to see our LCS get screwed over with copies that were pre-ordered. Get ready for four weeks of this, I would imagine. - Humphrey Lee

CAPTAIN AMERICA & BUCKY #620 Marvel Comics

First off, the main thing I have to say about this book is how much of an “Ugh” in a Marvel numbering scheme that makes no sense it is. You can go ahead and mock the DC renumbering in your Previews but it’s not hypocritical to change the title at a number like 620 and have Deadpool #900 and Wolverine #1000 floating around. Cute. But whatever, it doesn’t matter, because I love this book and am happy it exists as I still think Bucky was too good in his revamped form to get rid of and I’m on a “all four dollar books that don’t justify the extra buck must get cut because I just got a new car” kick. More WWII Cap & Bucky, I’ve always felt, should be a must. There really just never seemed to be enough modern traction on all the adventures and horrors those two must have seen. And especially Bucky, who as this issue demonstrates had a pretty rough time of it while growing up one of those “always spoiling for a fight” types. And the Samnee art just fucking kills it. I’m not sure how much traction a book like this is going to have, but I’m hoping it’s a lot because this scratches several itches of mine between the team up, period piece, and just the quality in general. - Humphrey Lee

This book is kind of a hard sell on me given what it is, that being a book where a pretty much POS human being is having his day in the sun being a POS. Not that I don’t like “dirty” books or character with somewhat despicable traits – John Constantine is my all-time favorite character for Jebus’s sake – but I don’t really do well with those who have nothing redeemable about them. Or, in the case of THE CAPE here, a guy who feels a shitty life he more or less brought on himself by being a layabout is justified means to be a villain when he lucks out with powers. All that said, I’m still sold on this book, if more out of how the quality of writing expands the life of Eric, our lead, and how it came to this and just how vile he is willing to become. I’m actually somewhat relieved that Hill has let the character play out rather unsympathetically as it makes me, at least, just go more into observer mode. Instead of getting actively invested in the character, I’m just seeing where the story goes and kind of hoping something bad happens to him. Also, a fucking bear is dropped on two cops investigating the murder he committed while they’re conversing in a car, and that was pretty awesome, so I’m definitely in to see what happens next. - Humphrey Lee

Issue two of Skybound’s other hit series has a lot of what made issue one so much fun--namely a lot of medical/mystical mash-up terminology and fantastically written scenarios incorporating both. Writer Brandon Seifert continues to come up with new and interesting versions of age-old creatures, while artist Lukas Ketner continues to bring Wrightson stylings into the new millennium with his character and creature design. There’s a lot of “oh no they di’in’t” style humor injected as well, especially in this faerie infected baby issue where the only way they can treat an evil child is by shaking it, of course. Seifert also injects some character in the title character which took second seat to the story in the last issue. The more issues I read of WITCH DOCTOR, the more I think it has legs. Plus the sketchbook at the end which takes the reader through the developmental process of both artist and writer on specific characters is a lot of fun to read. If you’re not checking out WITCH DOCTOR, you need to do so, STAT! - Ambush Bug

It's like the guy didn't even read the book. Just thumbed through it at the store and said "Alan Moore said there should be comics for kids! And this book has obscure characters and s-e-x in it! I'm just going to write 10 paragraphs of sarcasm and call it a review!"

I think it started with Iron Man changing to Iron Man: Director of S.H.I.E.L.D.Then Incredible Hulk to Incredible Hercules. They restarted Incredible Hulk at 600 then it became Incredible HulkS. Daredevil: The Man Without Fear to Black Panther: The Man Without Fear. Thor to Journey Into Mystery. Captain America to Captain America and Bucky.
While I think DC's reboot is too extreme with 52 #1's in a single month, Marvels renumbering and renaming is just nuts and illogical. And that's coming from a Marvel Zombie.

I don't think Black Bolt's return was rushed, and I loved the way they did it in this book -- 5, beautifully rendered, (mostly) silent pages. Maybe I'm biased, cause I love The Inhumans and am glad to see Black Bolt back. I also loved all the Dune-ish stuff going on; space royalty/politics, cosmic history, and alla that jazz. FF is one of the few Marvel books I eagerly look forward to each month.

...is depressing as it shows how far Alan Moore has retreated inside his own hermetically sealed cultural bubble.
The 80 page format does Moore no favours either as it robs him of the strongest tool in his armoury - pace and timing. Without the structure of a 22 page issue to reign him in Moore just seems to waffle on endlessly about ...well, nothing, really.
However, the biggest sin of all is that even Moore seems uninterested in this 1969 millieu he's created which - a 'Where's Wally' style cameos aside - seems to amount to Performance crossing over with Rosemary's Baby and Get Carter. Everything's v obvious and way too shallow.
The ending of 1969 at least shows a brief flickering of life, but it's going to take a stunning final issue to salvage this series and - frankly - I don't think Moore's got that in him anymore.
However, props to Kev O'Neill. His work has been and remains top drawer.

with people debating what it means to kill, and the effect that has on one's spirit? does it contain a conversation between Wolverine and......actually, whoever, doesnt matter....that goes like this: "Did he have to die?"....."Thats what we do, bub. Thats the job."......"I've been having dreams.....nightmares, actually....where all the people we have killed have come back to haunt me"......."I've been having those dreams for 129 years. Get used to them. Its part of the job."......"But there has to be a better way!"......."We do what others wont. Because we are tough. Plus, we have Force in our name, so you know we arent fucking around, bub". (I just described every issue of X force ever published)

It was by now what I've come to expect from the League. A kind of straight-forward plot occuring in the background while the League generally bumble around in the foreground, and Moore makes so many literary and cultural references, I don't even understand why anymore; as in, I don't understand what a hyper-prolificity of background references adds at this stage. 'That boot-black in the distance wearing a green sweater, he was on East-Enders in the early 70s!' That said, it was still damn enjoyable and miles ahead of most comics out there. And despite the reviewers' tone, I agree that it gets a little tiresome watching Alan Moore put all his characters through all sorts of sex; it generally has little to do with story, but it really seems to concern him, where people stick their units. I keep thinking these obsessions would've been lessened if Moore ever got to have much sex with attractive women.
So the guy's no Morrison, but he's alright.

I can't help but note that while your Infinite review gave me a detailed explanation of Liefeld's screw ups, it gave me absolutely no explanation of the plot or what the series is about. I'm a big Kirkman fan and would like to know whether I'd be interested regardless of your hate for the artist or the 90s.

And it's definitely gotten tiresome. He couldn't even finish Top Ten and its spin-offs without throwing pedophilia and incest in there. I sometimes wonder how much I can get for my copy of Lost Girls since I know I'm unlikely to stomach reading it ever again.
That said, huskerdu2 and laserhead wrote far superior reviews of the comic itself in about a quarter of the space than the guy above the Talkback line managed to do.

The second issue will come out on time. Then there'll be a four month delay before #3 is published. A fourth will randomly appear between twelve and eighteen months later. The three people who care will be depressed.

That dialog is from every issue of X-Force.
I have a couple X-Force trades in my stack to be returned to the comic book store for whatever they'll give me in trade. Very repetitious and that Crain guy's art style was a phase I was going through. Now I think it's fugly and really stupid looking in most panels.

I didn't get into the story itself because I didn't want to spoil the story for readers who were still interested in picking it up. To even say which genre of story it is might be a spoiler to people, so I didn't bother.
though if you still want to know, I'll spoil it here:
SPOILER:
It's a time-travel story.
The two main characters are fighting a silver fella who has taken over the world who has convinced himself that he's doing the right thing and saving the world by owning it. Shit goes bad and the one main character steals the aforementioned belt that is nowhere to be seen on the bad guy which allows him to travel 18 years into the past to try to fix everything.
DOUBLE SPOILER ALERT:
And this is just a guess but I'm gonna go ahead and say that the silver guy is one of those two main characters future selves having decided that he's going to save the world.
SPOILER DONE
So you were correct in pointing out that I didn't mention that stuff, but I hope this helps you out?
:)

Meanwhile, his declining years in comic books are devoted to the adventures of a couple called "Allan" and "Mina", which, it is becoming rapidly clear, is basically an excuse to show them having sex in different periods of history with different fictional characters. All of which is very interesting, but makes me think it might have been more amusing as a private joke between man and wife. Actually, the one interesting plot point in 1969 was Mina worrying that her age is catching up to her and compensating for that with an excessively outlandish hippy lifestyle, which ends in tears. I say Alan should take a cue from his book, shave off the beard, buy a proper pair of trousers, and settle into the life of a happily married 60-year-old Northamptonian!

Liefeld has to be the world's laziest hack (in comics). He seems to have regressed because he was trying harder for a little while. I know from being an artist myself... most of the time he does not design a new character before putting them in the comic. He "designs" as he goes... I'll bet he started Infinite with the cover, meaning those floating heads didn't get bodies until he was forced to draw them later inside the comic.
When he sits down to start a new page or cover, I bet the first thing he draws is a pouch, and then a big stupid looking gun that will never be drawn the same way twice (because he doesn't design it he's basically doodling away).
At some level you have to respect him for finding such success. Honestly who in the fuck buys anything with his name on it?

was the afterward by Robert Kirkman, where he pours love all over Liefeld, saying how he's always wanted to work with him and how he has every single comic Liefeld ever drew.
It was like he was defending his mentally handicapped little brother against bullies or something. It kind of made me a little bummed for some reason.

What is hilarious, though, is Alan Moore giving an interview which lambasts the way DC and Marvel characters, i.e. mid 20th century juvenile fiction, have become for warped adults, while at the same time promoting his latest, frankly perverted - whether or not you find that perversion offensive (I don't particularly) - comic book, featuring heroes from Victorian adventure fiction in scenarios only a warped adult could enjoy.

I haven't read Moore's interview, but he may have been less concerned with comic's referencing there past rather than putting out basic reruns of their best silver age stories again and again. It sometimes seems like Marvel is constantly trying to redo the same few storylines (Infinity Gauntlet, death of Gwen Stacy, death of Jean Grey). Meanwhile, DC keeps trying to change things but always ends up back at the same place (multiverses returns, Superman reverts to silver age Superman complete with Krypto, armored Lex Luthor and Supergirl - we'll see how long this new Supreme Power version lasts, etc).

Normally, I would agree with you. Prior to this arc it was on my endangered comic drop list.
This one though is spectacular. It ain't all about remorse or a lack thereof anymore.
It will probably go back to that, but for now, this was bar-none one of the best X issues I have ever read in my twenty-five years of reading X-men.

I actually thought Bendis was succeeding in telling a different Spiderman story for a while and still being true to the general character. Peter wasn't locked into MJ, Gwen Stacy didn't get killed (or she came back).
Then of course they had to kill Pete and now we're getting black/hispanic Spiderman (seriously, Spiderman isn't Flash, Ironman, or Cap - you just don't pop a new guy in the suit).
Shouldn't the @holes be raging about this by now?

There are just so many other things to rage about at the moment, the new Spidey is merely lemon juice on the wound.
Let them throw a new kid into the costume, it just goes to show no one in either house is versed in brand resonance.
You walk down the street and ask anyone fan or non-fan what they think when you say Spider-Man and one of the first five words out of their mouths will be Peter Parker.
Notice they pull this in the Ultimates Universe, which has been on a slow death roll...well..since they told us it was over two or three years ago.
I'm fine with the ULTIMATE universe being different, but for fucks sake it was supposed to be a modern retelling, not making new shit up and splatting it on a wall to see if it sticks.
Both houses are terrified of one another right now....

Well, over on my podcast we talked at length about Race and Diversity in comics, that mixed with my firm belief in the prospect of actual change in comics being a good thing, I couldn't be more excited about this.
Now because I don't think they say this new kid's actual name in the book, I thought this fella was Ben Reilly, the guy who was helping out with the Venom/Carnage storyline waaaaaay back, and figured he somehow had the powers transfer over to him...but this new kid (who the internet tells me is named Miles Morales) I don't think we've ever seen him before, unless I've just forgotten him.
No offense Hedgehog, but why SHOULD we be raging about this?
"I actually thought Bendis was succeeding in telling a different Spiderman story for a while"
This is about as different as I've seen in awhile. With Ben Grimm's new powers, Reed Richard's new standing, so on and so forth...
It seems like they're finally starting to do with the Ult U what I'd been hoping from the start. To see a universe that's actually DIFFERENT from the 616.
I do agree that another kid having the same powers as Pete is a bit of a stretch, but Bendis has said that he'll have different powers, so I'm curious to see what that means.

I'm surprised there's not a review here, you guys are letting me down
I'm calling 50/50 on whether it will be any good. Either Bendis will come up with a truly original spin and make it engaging, or it's going to be exactly the same as Ultimate Spidey has been up to this point, only now he's Puerto Rican.

...once Wolverine and The X-Men comes out? Seems kinda pointless to have 2 X teams lead by Wolverine. Even if they don't discontinue it, I'm gonna it or not start the other. I just can't afford it anymore. Marvel is getting way too greedy these days. If they're not jacking up the cover price, they're doing crossovers. If they're not doing that, they're cancelling a book and splitting it in two (Cap, Thor, Daredevil). I'ts getting as bad as the 90s only 3 times as expensive.

Will the different powers be and still be able to call himself Spider-Man?
Web shooters out of his ass?
8 appendages?
Sustenance from flies?
Able to frighten my wife with one look...kinda like my penis?

anything good there?
I'm starting to feel Spidey deprivation. I dropped the main book at BND and now with the Ultimate title gone, I'm starting to jones.
They've cancelled or killed off the last books I still got on the regular. Nova gone, GotG gone, USM dead. I'm actually considering jumping ship to DC for my fix, maybe try out some of their new #1s. Aside from a year or so I was buying Batman, I've been pretty much strictly Marvel for my monthlies. Any suggestions for a jaded, long-time reader?

Screw Alan Moore and his hypocrisy. He hasnt written for kids in 30 years, and he wants to bite the hand that feeds him.
If he wants to write for 9-13 year olds, what in the world is stopping him?
As a 47 year old who spends well over $100 per month on comics, I will say that I dont need referencing of the past. I want fresh and new.
If anything, I am frustrated with the sameness of the stories and the unwillingness of the big two to evolve. I understand it is for marketing purposes, so dont blame us old guys, who keep the industry in business.
Plus, your review was seriously hilarious!!!

I bailed on Spidey after BND, but came back because I love Slott.
I have not regretted the choice.
For DC that's a tough one especially right now. Stick with your plan to go with some of the #1's that look interesting. Any attempt this month will leave utterly lost and confused since this is a wrap-up period.

And it was supposed to be DKR for Spidey, which I thought was a fun idea. I consider them both part of the same future...
I loved Doc Ock's arms still carrying on without him...I loved why MJ died etc..
I thought it was a fun time

This is an aside, but "balls to the wall" doesn't mean what people think it means. Old, large engines used to have a pair of steel balls that hung down when off, and would spin out as the engine got faster and faster. Eventually, they hit the side walls, slowing (governing) the engine. Hence "balls to the wall" simply refers to pushing something, like an engine, to its max.
Not dirty at all, and no reason to hate the expression.

And that issue of THOR was fucking awesome.
SPOILER
His line "Shut up, Surfer" line was just fucking great, and what he did at the end of the issue was just fucking awesome.
And Oliver Coipel is my favourite artist, so it's a good time to be a fan of THOR.

...regarding changing characters, brand resonance. Its something I've disliked, and then hated, about comic books for 25 years (closer to 30, actually). If a character has grown old, tired, boring, isn't selling, etc., end the book and create something COMPLETELY new. Don't reboot it, change the guy under the tights, do a crossover, death of, etc. etc. etc. Sandman and Preacher, two of the greatest books of the last twenty years. They ENDED.

huh..that's pretty interesting. i always thought of it as some super machismo thing to say, i put it in the same category as people who say 'tits' to describe something cool. that's good to know...i definitely don't hate it as much.

You, too can become a successful comics artist! Here's how to do it:
Just send me, Rob Liefeld, one piece of art....be it a doodle on a napkin, a bloody scrawl on a torn piece of cloth, or a 'poo painting'......along with a check for $1000!
I will send you your certificate of completion and diploma from.....THE ROB LIEFELD SCHOOL OF COMIC ART & DESIGN!
Now get out there and start NOT GIVING A FUCK!

What's not to object to here, a cynical effort to just put a new body into a Spiderman costume and get cheap PR by making him black AND hispanic (surprised he's not gay and a paraplegic while they're at it). If they have an interesting take on a black/hispanic character, give him a new suit, new name, new powerset and we'll see how it goes. I would think after the clone wars they'd have learned that on Peter Parker is Spiderman.
BTW: wasn't Spidey 2099 also hispanic? We all know how that effort turned out.

but then we wouldn't have Jay Garrick, Barry Allen, Wally West and Bart...
Or Allen Scott, Hal Jordan, Kyle Rayner, Guy Gardner, John Stewart.
or, you know....Watchmen.
so on and so forth. let time go by, let other people pick up the mantles and move on.

I really didn't like much of the post BND Spidey - Grim Hunt, etc, kind of mediocre. Slott's run isn't his best ever but it's at least has a handle on the character and seems to be taking him in an interesting direction.

Not fair comparisons brother...
Green Lantern is a team book. And actually Black Rob and I were talking about that at the comic store today. How fucked is Earth we need 4 Green Lanterns?
Jay Garrick was Flash for almost fifty years with no death...Just new guys got the powers...the same powers. This Spider kid has different powers than Peter? How, since Peter did everything a spider does.
Also, Hal and Barry came back. You can't even find a whisper of Wally these days....just sayin....

...the list of names in your first two lines is exactly my point. At the very least, if publishers had allowed writers, artists and creators in general to move on when some, or all, of the proceeding characters died, maybe they wouldn't be fighting so hard now to find a new audience for their work. And maybe people like Alan Moore wouldn't be speaking out about how incestuous they've become. Its only original once, maybe twice if you can find a really creative way to make it happen. Then, whatever the trick is, it has already been done. Eventually, your audience is going to grow tired of being played with.
<p>
In regards to Watchmen, its my very strong opinion that Moore was already doing a commentary on this with that book, way back in 1989. He did this in a completely original way, by using broken, fun-house mirror images of the superhero archetypes several generations of comic book readers had grown used to. No, again - imo, Watchmen was at least in part an attempt to show writers, creators and publishers a new way, an original way, maybe even the RIGHT way, to change your characters, or your entire "super hero universe".

DC not wrapping up books with stories like "What Ever Happened to the Man of Tomorrow" seems like a missed opportunity. They could have gone hog wild with top notch creators and written "The End" style tales for all the characters. Secret Six is the only book that actually wraps up. Everything else is just coasting. They could have done 3 issues for each series that just blew the doors off.
Batman's final confrontation with the Joker.
Superman sacrificing himself for the good of the planet in a final battle against Luthor.
The return of the Dibny's as ghost detectives.
Wonder Woman taking on the pantheon of the Gods.
The only thing I can think is that they either 1) didn't want to spoil the changes coming in Flashpoint or 2) wanted the older universe to still exist as a fallback in case they reverted to the current continuity or 3) didn't want to provide "final tales" as it might taint the new books (and give readers the opportunity to walk away once and for all).

Sorry to be pedantic, but I think the expression "balls to the wall" is an aviation term, a reference to pushing the throttle on a jet fighter, which was usually knobbed like a ball, all the way forward to the firewall of the cockpit.

...is very typical when he obviously hits such a raw nerve with fan boys. I love him, I love that he totally isolates popular comic's (often unchallenged) obsessions with violence yet strangely puritanical (and often puerile) stance on sex. And I love the fact he hits the nail on the head with such honesty and such clarity. That the reviewer who put that together had even an ounce of Moore's insight....

Especially in regards to the incontrovertible fact that Morrison is WAY better than him.
I still like Moore's comics, but Morrison is a much, MUCH better writer on nearly every conceivable level. Not the least for which he doesn't hold the medium in contempt as Moore seems to, and instead of wallowing in his own fetishes like Moore does, is always striving to push the medium forward *without* shitting all over what went before.
And, damn, have you seen Morrison's wife / manager? She's pretty hott! You know they're having all kindsa awesome sex magick in their castle.
So yeah, no doubt, Morrison > Moore.

I always find it kind of annoying where it seems that the gods seem to fluctuate in their powers. I always thought Galactus dwarfed the powers of any god but here it seems he and Odin are evenly matched. Still a cool fight and I'm curious to see it develop.

Yup, that's the one!
I was so fucking pissed off at the arrogance of Tony in that issue. Thor beating his ass down without even breaking a sweat was awesome, and his dialogue addressing Tony and his plans was chilling and showcased why I love Thor's character.
Tony got his ass handed to him AGAIN when he showed up in the stars and stripes armour and tried to finish Thor only to be hit through a few buildings by a make-shift baseball bat phone pole!

It's not a new Peter Parker so the PC lip service doesn't bother me. It's a new person entirely and as long as he's interesting it works for me. I'm most curious to see what kind of family he comes from. Are Mom and Dad still together or is this another broken family? Peter Parker only had one parental figure to worry about, someone with a bigger family might have more complications.
I'm mor annoyed with the fact that they killed Peter Parker in the first place. He was the most appealing character in the Ultimate universe and was probably what kept most readers attached to it in the first place. And the most creative thing the writers could think of was to kill him. This is going to be the third reinvention in the this universe and its getting tiresome. Hopefully they won't forget that there is technically another Peter Parker hanging around. I've been waiting to see what they would do with the Scorpion clone and the idea of a mentally and physically traumatized Parker discovering his original has been killed could lead to some really interesting possibilities. What would happen if that thing tried to get back into Peter Parkers life?

THE CAPE is an expansion of Joe Hill's short story of the same name, published well before the cancelled tv show of the same name. IDW adapted the original story for a one-shot last year and are now following up with this miniseries. So don't call someone a moron for the unfortunate coincidence of having a sub-par product using the title that Hill had used first.

Seriously, I liked All Star Superman but to compare Morrison to Moore who's been behind not only the single most influential comic series since Action Comics 1 but also some of the best, stand the test of time series ever is beyond ridiculous. Sure, Moore hasn't put out much great stuff lately but we don't say Stephen King is better than William Shakespeare because Will hasn't put out much lately.
(Not to mention the fact that Morrison has also managed to put out a huge amount a crap).

In the meantime, I'd like to take an informal poll. Other concerns aside (for those who care at all), what 3 titles are you looking forward to in the DC relaunch? I'm about burnt out on Marvel right now and I'd like to try something different. Looking for suggestions as I'm not terribly familiar with the DC pantheon beyond the cartoons.

Even though I agree with neonfrisbee regarding Moore's apparent contempt for the field in which he makes his living, I still think he's better at it than Morrison. And I like Morrison quite a bit, I'm not saying he's shit by any means (although I also agree that he's written a few things that approach it). I'd just put Moore a couple rungs up from him on the ladder.

Justice League-i'm a sucker for Jim Lee, so i'm going to read it but i can't say if that's gonna be one of the best.
Swamp Thing- i feel like this one's gonna be good.
Detective Comics- i like Tony Daniel, so i think this will be good.
Action- will probably be cool but i feel like its gonna get crazy after a few issues...but i'm gonna read it.
Red Lanterns- will probably be badass but Ed Benes will fall behind.
Batwoman/ Batman: Dark Knight-mostly for the art
Firestorm & Demon Knights looks pretty cool too.
Most of my picks for the relaunch just involve characters /writers/ artists i've already liked, so i don't know how helpful this will be.

How can he gripe about the comics industry recycling old ideas and characters when THAT'S EXACTLY WHAT HE DOES AND HAS ALWAYS DONE. Watchmen started as a riff on the old Charlton characters. His League of Extraordinary Gentlemen is just lifting public domain characters from literature. About the only character I can think of that he created completely is John Constantine. But even he was based on Sting, so...

I've been enjoying X-Force quite a bit, but felt like having the Fantomex/Psylocke scene come right on the heels of Logan/Jean was a bit much. It kind of made me feel like I was reading a YA novel. (I'd prefer having moments like that spread out across multiple issues.. I think it gives them more impact, and keeps the storyline moving) Thankfully, the issue was enjoyable enough on its own for me to overlook that.
I've enjoyed the hell out of the entire Secret Warriors run, and am sad it's over. I have not always known wtf was going on, but it was always entertaining. I like the ending and agree I'd buy a miniseries for Fury's next (unsanctioned) mission.
I am less cheery about FF. I've liked parts of Hickman's run, but I really don't have a clue what's happening most of the time, and, unlike Secret Warriors (where conspiracy, secrecy, and double-crossing are part of the tapestry), I feel like that really detracts from whatever story Hickman is trying to tell. Maybe the issue is that I don't know enough about the rest of the Marvel U, but this is the second arc now from Hickman where I read through an issue, am confused, shrug, and put it down. If this keeps up, I'll probably drop the series as a whole.

...and then write a rambling review based around it. Bravo. The actual bit you mentioned in the Talkback was a lot more coherent, although still seemed oddly bitter towards Moore. In the interview he was mentioning the style of stories that were told- not in terms of lewd content at all, but in terms of how the expectations of the reading audience had shifted and of what they wanted (and wanted to influence) the stories to be. I think you've misunderstood what Moore meant when he used the word 'nostalgia'. In fact kidkaos73's comment weirdly gets closer to it- there's a big difference between recycling something and riffing on something. So, y'know... can we get a review of the comic now?

You're completely wrong about Spider-man. The brand is intact and going strong. Peter exits in many different medias. The story of Ultimate Peter was allowed to end and it was great. They didn't have to do that, they weren't forced to make a "black" character. this is what the Ultimates storyline has become about. New terroritory.
I'm totally on board.

Does he actually say that? I guess what I'm asking is, does Marvel still rate their comics or have they grown up their language?
That's one problem I've had with Marvel as I've aged, its just too kiddie.

How is the new Ultimate Spider-man a bad thing? Some of you call it cynical and pandering and to me that says you don't actually know what those words me. The story is about a new hero inspired into action by the life and sacrifice of the previous one... cynical how? Pandering? To whom? If we were to make a chart counting the total amounts between movies, tv, and comics, who would get more hashmarks as the identity of spider-man: Parker or Morales? It's amazing how a bunch of stuck in amber silver age buttlickers are so incredibly against bright and hopeful themes, but then... you couldn't be stuck in amber if you weren't pissing yourselves over change.
On a serious note, kids. I would caution you on complaining about this in public, because--since there's comics and movies and cartoons out there still featuring Peter Parker--there only seems like one possible explaination as to why this upsets you and it's not a very flattering one, understand?

Let me remind you of "the reign of Supermen"
For a time, they all called themselves superman and eventually they choose their own identity. Can all of you out there--who are soooooo concerned that Marvel so panderingly did not just create a new character more befitting a minority, maybe naming them "Black Arachnid" or maybe "Black Insect" or perhaps just "Black"--can you say for certain that that same situation won't happen?
How do you know this new Spider-man isn't just a springboard to the new character you all wish for so bad. Which is, of course why you're so upset about this change...

Yeah he does...it doesn't say fuck but....i guess you'd have to read it but the last bit of internal dialog Tony says "#$%^ it" but it's done in asgardian blacksmith gnome speak. apparently they cuss a lot.

I've been so stunningly unimpressed with the dumb storylines (did someone here say that they're still messing with the clone thing in Spidey-world - one of the worst ideas to ever be allowed into a comic?) and dreary, lookalike artwork in most modern comics that I've just stayed away.
Just finished reading a volume of the Walter Simonson Thor Visionaries collection, and I looked at it and thought - what's being done today that isn't just a weak shadow of this work? And that was nearly 30 years ago. Stunning.
This Thor sounds and looks pretty good, though. I may have to actually check it out. Though I look at that cover image, and compare it to the iconic Buscema Thor vs. Surfer cover of old (http://marvelite.prohosting.com/surfer/gallery/search/graphics/ss04bg.jpg), and I think - Buscema wins. Ten times out of ten.
X-Force doesn't look too bad, either. Maybe there's some hope in this recent Marvel stuff - or maybe I'm seeing the best of it. I'll have to linger the next time I stop in the local comic shop, and not just pick up my latest Marvel Essentials paperback and leave, as usual.

But perhaps that's a personal preference thing... Either way, that's a specious correlation because Blue Beetle was the mainstream character without any alternate versions for "discerning" fans to run to.
Ultimate Spider-man is one of many Spider-mans, all the rest of which feature Peter Parker.
Still only one reason I can see as to why people are getting so upset about this... what could it be? what could it be? Hmmmm...

now THAT is how you turn a phrase. well done sir.
<p>
and i thought the LoEG review was funny. a "real" review would be kinda pointless. there are two diffrent types of people in the world. people still reading alan moore and people who are not. so why fight about it?

Rob Liefeld will never cease to be a source of inspiration. If he can get rich and famous, I'm pretty fucking positive I can. Whenever I'm feelin' blue I just have to Google up some Liefeld illo's and suddenly the world is a prettier place!

I'm curious about the new Supes and I've dug Morrison's crazy in the past so that's a strong contender for me. I'm also interested in Resurrection Man just because I know nothing about the character and it's DnA.
Maybe Detective, if I pick up a Bats book that'll prally be it. Maybe JL just because it looks to be the heart of the beast. LoSH sounds kinda Ender's Gameish, which I dig. What's up with Voodoo?

Yes, we get your hidden accusation that if we object to this change we're a bunch of racists. Just like everyone who doesn't like Obama is secretly a racist.
Sorry, I don't like this convenient and instantaneous replacing of a popular character with a new one and wouldn't like it if he was white either. Making him black And hispanic just adds a layer of PC and attention seeking cynicism to the change. Just as when Superman died and we had 4 replacements with the implication that one was the real thing - buy all the books and guess which one. (BTW - I don't think any of those spinoff characters held up that well including Steel and Superboy).
The Blue Beetle comparison is apt with one big exception, no one really cared that much about Ted Kord (who actually wasn't the first Blue Beetle either - just as no one cared that much about Jay Garrick or even Barry Allen), so shoving a new guy into the costume was more out of desperation to keep the concept going.
Peter Parker is Spiderman - it's not an interchangeable identity. If you want interchangeable - read Green Lantern.

that the replacement of Spider Man with some random Star Trek redshirt schlep-rock that absolutely no one has ever heard of before, who just happens to be a minority, might be a bid by editorial powers to gain mainstream hype and attention. I mean, all of this is tightly controlled, nothing happens by accident. So either A)this is a random coincidence or B) Marvel is trying to get attention. For the record, race has nothing to do with it, I was equally disgusted when editorial tore down 5 years of Brubaker's hard work and killed off Buckycap in 3 pages so the kiddys who liked the movie wouldnt get confused if they picked up a Cap comic.

Kirkman's one of my favorites since in my opinion Invincible is the only mainstream style superhero ongoing in forever that really shakes up the genre while still being true to it.
I do have to admit, his efforts at Marvel were not so great. Maybe, like Bendis, he's usually better on his own stuff.

It's easy enough to get newspapers and news-sites in these straitened times to run a story on the latest attention-grabbing plot in the funny books. I saw the thing about the mixed race Spider-Man on the BBC website this morning. But do the comic book chiefs suppose that anyone whose eyes happen to pass over the picture in their newspaper is actually going to head to the comic shop for what might be the first time based on that? More likely they'll just turn the page and read a similarly important story about an animal doing something crazy, or some new survey. If I didn't know better, I might think that the real purpose was to gratify the egos of the Marvel and DC bosses, who get to read quotes from themselves in the "grown-up" papers. But surely they couldn't be so vain ...

In no other storytelling medium is this expected. Continuity is a lifeblood of storytelling. Dont get me wrong, in some ways it can be suffocating.......and by "in some ways", I mean by bad writers. Cap getting shot dead, Dark Knight Returns, Spidey's death in Ultimate. These moments mean something because of our long histories with the characters. Grant Morrison squeezes out continuity, history, and devotion to what has come before on every panel of his books, All Star Supes is a love letter to continuity, and its one of the best books of the past 20 years. There are plenty of fantastic options out there for people who want a fresh start with characters (I'm exhibit A, probably 65% of my pull list is non-Big Two), but there is nothing wrong with devotion to the past when you are dealing with Batman or whoever.

Thats the sad thing about these editorial meddlers: it actually works, they pull these transparent attention-getting ploys out of their asses....and it actually DOES get attention!! Its frustrating, I hate seeing interference get rewarded.

Comic advertising and PR is frankly abysmal.
Quite frankly, aside from these occasional blips in mainstream media, comic advertising and PR is Ouroboros. Where do you see comic advertising? In comics. Where do you see TV shows, cars, toys and every other fucking this under the sun, in comics as well.
I’ve complained about this before, but if these guys could look at the old adage it takes money to make money, they would realize the tangible benefits of advertising comics in other mediums.
Fuck, web advertising is dirt cheap. Get a PPC campaign going or (and while I don’t love them) even a banner ad on some kid friendly sites.
I go back to my perpetual of standby of the fact that comics could use a little acumen from the business world. Hire some folks who are more than just fans of the material or past interns who only know comics because they were gobbled up when they were children.

I thought there were two. I think at least a few non-racist people are upset because they see the 'new' Ult. Spider-Man as what it is: an awkward, blatant attempt at getting kids' money by toadying to the imagined politics of an imagined global, pc audience.
Understand, I don't give a shit. Personally, I think if this 'Morales' guy was an actual character, they could've given him, you know, his own super-hero identity. bBut of course he's not a character, he's a demographics checklist who speaks with the inhumanly annoying Bendis-talk.

It's always amazed me how many Z level characters keep coming back no matter how many time the mass audience rejects them because at least one person really loves them. Look at Spiderwoman, Bendis seems to be singlehandedly determined to make her popular - but even he can't pull it off.
I have to say, the only time I cared about Ted Kord was when he died after being ignored by all the other heroes. That seemed very sad and kind of true to life.

Easy. Watchmen isn't a holy grail of anything. It's a well-plotted, beautifully drawn story of cliched characters behaving in dumb ways. 'The Filth' is better than Watchmen. Morrison's vertigo work is generally better than Moore's. Morrison's self-created work is generally better than Moore's. Morrison has been wildly prolific for 25 years while Moore can really ONLY do riffs on other people's creations-- the closest he's come to breaking out was ABC, but in the main, he's unable to come up with original concepts.
The only advantage Moore has going for him at this stage is 'From Hell', which is one of the greatest graphic novels ever made. One of these men has been and continues to be at the vanguard of comics publishing for 25 years; the other has retreated to a hermetically sealed bubble after introducing the super-hero to 70s cinema.

Easy. Watchmen isn't the holy grail of anything. It's a beautifully-drawn, well-plotted story of cliched characters doing dumb things. The Filth is better than Watchmen. Morrison's vertigo work is generally better than Moore's. Morrison's self-created work is generally better than Moore's. Morrison is an actual creator with original ideas. Moore can only riff on other people's creations (this includes his ABC line). Morrison writes like he loves the medium. Moore writes like he hates it. Moore has essentially one trick: he introduced the super-hero to the world of 70s cinema and anti-heroes.
One of these men has been wildly prolific for 25 years. One has retreated into a hermetically sealed bubble of puerile sex and self-reference. 'From Hell' is one of the greatest graphic novels ever made, but otherwise Moore's canon reveals a gaggle of smart, well-made enormously overrated work, and there's very little of it in comparison to Morrison.

I think what's irked some non-racists about the new Ult. Spider-Man is that it's an awkward, blatant attempt to get cash by appealing to some imagined global comic audience with imagined pc politics. It's not a bad idea at all, from a sales standpoint.
Understand, I don't give a shit. But if this Morales kid was a legitimate character, he should have, you know, his own super-hero identity. Instead he's just a demographics checklist in a familiar costume.

It looks like the designer wanted or was instructed to make both names the same width. Liefeld's name is shorter so the letters have to be bigger. It jumped right out at me too. Even the typography of the cover is rank amateur. ... probably a demand from Liefeld.

Seriously, I've never read anything else featuring superheroes which even comes close to the storytelling mastery on display in the pages of Watchmen. It's just so tight. I think the fact that the characters only exist in that story (I know they started as Charleston characters) makes it self-contained and timeless. That's why I was so annoyed by the making of the movie and all the related garbage. Watchmen the comic book series stands on its own at the pinnacle of all comics (superhero style) achievement.

However to say it's better than Watchmen is insane. I love the Filth, don't get me wrong. But it's not something I'd ever give to another person to read. I have given copies of Watchmen to 3 or 4 different people over the years as gifts.

You don't have to be racist to see it as a transient, flash-in-the-pan way for Marvel to gain press, sales, and/or sympathy. The race of the character is no defense against critique.
Is Marvel committing to, from this day onward, a mixed-race Spidey exclusively and perpetually? Are they implementing this mixed-race Spidey in all future film adaptations?
For that matter, are they committing to creating a major new mixed-race character that they will make one of the tentpoles of their hero stable?
Of course, the answer to all those question is no. I wish they would create such a new character and really stand behind it, rather than using established icons for these types of stunts. And judging from the doe-eyed image we saw in the press, the character will, of course, have to be extra-sympathetic to increase the white-man's-burden factor.
And I say this as someone who would love to see the black female Captain Marvel in an Avengers film. A character that's legitimately as tough as (or tougher than a lot of) the guys to merit screen time, as opposed to the eye-candy non-superheroine women who will actually be taking up screen time.

It wasn't a hidden accusation, it was overt.
See, if you don't like Obama due to policy--say, for instance, I disapprove of his centrist bullshit and wish he were more hardcore left--that's a legitimate criticism of the man. But when he's accused of being a socialist, Muslim, Kenyan nationalist, that's just thinly veiled racism rearing its head.
And so, if you're mad that Ted Kord was very suddenly with a new character with different powers, leaving long term Ted Kord fans with nowhere to go... that's a legitimate complaint as well. If you bitch endlessly that the replacement is Mexican and that ends up being the only thing you mention... that's racism.
So, if you say: I don’t like Bendis’s work. I don’t like his decompression and his dialogue and I expect more of the say here, so I won’t be reading. That’s valid.
But if you plastered: “Spider-man is black! Fuck that!” all over the internet.
That’s racism.
Now, we know nothing about this new character. NOTHING... except one fact: He's half-black/half-Hispanic. That's it. How does he get his powers? How does he fit in with the old Ultimate Spider Universe? What's his story? How will he be handled? Nothing. We know nothing.
AND YET... big fat whiny crybabies are pooping themselves all over the internet about it.
"Waaaaah! It's pandering." Yes, because the one thing Marvel's been courting for years is all those minorities who want to read comics, but don't.
Ask yourself: If this is true, why is it a bad thing? What's wrong with making a marquee hero someone else can visually identify with?
BUT... the big fat whiny crybabies continue to poop themselves.
"Waaaaaaaah, it’s toooooo cynical.” Really? You people, an inarguably overwhelming amount of which would happily eat Geoff Johns and Dan Abnett’s shit because of their shiny happy people silver age-esque writing… call a story where the new Ultimate Spider-man was inspired to a life of heroism by the life and death of the old one… cynical? Really?
STILL…. the big fat whiny crybabies spray their feces.
“Waaaaaaaaaaah! It’s awkward!” Yes, because the six month “Death of Spider-man” story came out of nowhere. And so did the six month hype before that. We had zero preparation. ZERO! BLINDSIDED! …Come on, seriously, come on. Half of you don’t even read Bendis and the other half who do, can’t claim that the story had an unnatural conclusion. He made a hero’s choice and it killed him. That’s the essence of Spider-man: great power = great responsibility. Don’t pretend like you don’t know that.
NO MATTER WHAT… the big fat whiny babies and their diarrheic spasms
“Waaaaaaaaaaaaaaah! These things are planned!” Yeah, they looked around and saw “many Spider-mans” (pay attention Laser, here’s where I’ll explain this for you…) There’s main continuity Peter, he’s showing up in how many books? Don’t you guys usually complain about that? There’s cartoon Peter, at least 3 different cartoon Peters. There’s a half dozen video game Peters. There is, or soon will be, 4 movie Peters. There’s even a TV Peter or two. In short… he’s all over the place; he’s a very viable and easily accessible option for the Peter-centric among you… So they thought, hmmm… maybe someone else can were the tights. And they planned
And that’s where the issue is, right? Ultimatum sucked ass, that is totally true, but it did change the Ultimate Universe into what it has been trying to be for a long time: A place where anything can happen. Heroes can die and new heroes can be born.
So here’s the problem I have with you.
With Peter Parker still alive and kicking in so many other places, stories and medias, not to mention that one of them is the ORIGINAL Peter and with this new character that we know nothing about—like who he is, where he comes from, what he’s going, or even if he’s going to keep the Spider-man identity—NOTHING EXCEPT that he is half black/half Hispanic… Why are you so upset?
There’s only one answer.
You may not want to lynch him, you’re probably not even “bad” people in real life, for the most part, but it’s blatantly obvious that it makes you uncomfortable. Deny it all you want, but there is no other viable reason. I mean, one of you asswipes actually says: “He might as well be crippled and gay.” Because that would be terrible too, right? That’s what you mean, right?
It’s prejudicial. Pure and simple. And it embarrasses me as a comic fan to be associated with you. Oh sure, I’m sure you have a plethora of black friends, so… go tell them why you dislike this idea.
Short answer: you need to work on that shit, man.
Ask yourself: Why is it a bad thing to have a marquee character (not even the main version of that character) be someone that other people can easily identify with?
Why is that bad?

I'm certainly not against something new. You didnt see me railing in here about Spidey's death and how it was handled. Certainly, there are tons of outlets for Peter Parker if you want him. But are we really trying to pretend that, of all the possible characters to use to replace Peter, this absolute no one from absolute no where was chosen because he was truly the best choice from a storyline perspective? That race as a tool to get publicity played NO factor? That editorial mandate played no factor? I dont give a crap if he is yellow, green, or blue. I'll give you a better example: back around issue 35 or so of Walking Dead, EVERYONE was predicting that Rick was gonna get offed and Tyreese was going to ascend to leadership of the crew. That would have been an organic, logical outcome of the storyline as it was progressing at that point, and I dont believe anyone would have had the slightest issue with Tyreese in that scenario, let alone because of race. However, there is light years of distance between that scenario, and them pulling some redshirt that NO ONE cares about out of the ether and handing him the keys to the Cadillac of comic characters. If they pulled some guy named Bob off the street and made him Batman when Bruce died, would that have been an organic, natural story choice? If they pulled Joe Smith out of their asses and handed him Cap's shield when he died, would that have been something that would have been considered "a great story choice"? Pretending this is anything other then a cheap marketing ploy is blind Marvel editorial fanboyism.

you'll never find a bigger fan of Buckycap, or the decision to put the cowl on Dick Grayson. I was defending Damian as Robin when everyone else was spouting the same tired cliche tropes about kids ruining comics. Im a huge fan of change. What I'm NOT a huge fan of is blatant pandering to the mainstream media disguised as some "bold new direction!". What I'm REALLY not a huge fan of is fanboys and editorial then attempting to paint the aforementioned idiotic decision as something that had nothing to do with the aforementioned pandering, like Frank Drebin standing in front of the exploding fireworks factory saying "Please go home, theres nothing to see here, we have everything under control!"

And then came back and did it again for the slow kids who didn't catch it the first time.
And still there's the "blatant pandering to mainstream media" argument being attempted.
Dude, Peter Parker being killed in the first place is an attempt to get new readers interested and make money. That happened. It's BEEN happening. Why-
If you want to pretend your panties are clenched because "*gasp* Marvel is advertising their shit!" how can I argue?
joenathan already saw you coming.

If you think it's a bad idea because of his race, then yes, it's racism.
If you think it's a bad idea for some other reason, I think you're either lying to hide your racism--because how could you know that it's a "bad idea" at this point, since the story hasn't even really started yet--and I would advise you to at least be a man, and have the balls to just admit it (I mean, say what you will about skinheads, but at least those assholes are honest...).
OR maybe you don't like Bendis, which is fine, but if I was you and that was the case, I'd be goddamn sure that NO ONE confused me and my motivations with those other racist assholes that are showing their anonymous asses all over the internet today, dig?
And honestly, who cares if there was an editorial mandate? Who cares? So what if there was? What would the mandate be? "If we're going to put a new character in the tights, let's make him come from a different background/culture/race/something, because even though we all love these characters, they were created 50 years ago and the world was a bit segregated then, so let's try to reflect our world a bit more now and have some diversity."
Why is that bad?
Why?
Ask yourself why we liked Dick as Batman or Bucky as Cap or Wally as Flash or even Cap himself when he started?
It's because they were new and they had a journey ahead of them and the shadow of a great hero over them and we got to join them on that journey as they learned and grew and changed and all that. This is what I liked about Ultimate Spider-man in the first place. Hopefully this is what we will get again going forward. A new hero. A new journey.
Why get upset because you don't know him? Isn't getting to know them part of the story's fun?
It's always disappointing to me when I get these reminders of the huge amount of scumbag racist small-minded assholes out there that are comic fans. I guess you can never underestimate the facist appeal of vigilantism, right? It sucks to be part of that scene, but it's something I'm aware of.
However, I understand if you don't like Bendis or whatever, but I hope that's it. I honestly hope for better from people like you and Douche and some of the others, you seem intelligent and funny.
So, prove me right.

..Liefield Sucks!
But to his credit (Rob) he was the only guy who bargained with Marvel for Kirby's creative contribution royalties.
But as an artist and especially a writer, he's better off waiting tables.

Really shortened though - it still amounts to "if you don't like this, it can only be because your a racist (add multiple expletives here). And if you say it's for any other reason, I don't believe it because your oubviously a racist."
Now, it's vaguely possible that Bendis is such a genius that this will be a brilliant move and we'll have to eat our words and this guy will become the new face of Spiderman. However, as of right now, this is being sold on one thing only - and given how many times we've seen this kind of move before, past being prologue (Spidey 2099 anyone - I think he may have been hispanic or part hispanic but don't know if that was ever played up) we're not on unsolid ground in saying it's going to end poorly - as has almost every other attempt to play substitute the hero.
So go back to calling us racist, but until proven otherwise this is still just another cynical slight of hand to gain sales from people who normally aren't interested in comics and won't be once the hype dies.

All of you bitching about reasons to hate/not hate it and not a one of you has read it.
I personally don't give a shit about the underlying motivations for doing it, to me it's all the same as they've ever done, I only care whether it's any good.
pathetic

Seriously, if we didn't argue about stuff before we'd seen the final version of it, this site wouldn't exist. Look how many posts there are about one still image of the new Superman costume. Go thru any big comics event and see how much advance debate there's been about this. Why should new USM be any different?

There must be some hint of racism because we don't want to see Peter Parker replaced? Ridiculous. Marvel tried this BS back in the 90's if you'll recall, and they had to backtrack because the people hated it. They hated the idea of someone else other than Peter in the suit. And that guy was a white dude that looked exactly like Peter, by the name of Ben Reilly.

And yes, I know mainline Pete still lives, but USM Pete is clearly being replaced.
I'm trying to think of a past example where this has really ended well. Wally West as Flash maybe, though I don't think anyone really loved bland Barry Allen and Wally had been prepping for the role since the Silver Age began. Obviously, Batman always goes back to being Bruce Wayne, Cap to Steve Rogers, even main focus Green Lantern goes back to Hal Jordan (even though Guy is much more fun). I know Blue Beetle's name's gotten thrown around a lot here - I guess he has a new comic coming in the DC reboot so the jury's out but then Ted Kord wasn't that popular - sorry Optimous.
I'll make a prediction, we can debate who was right in a couple of years, Ultimate Pete somehow comes back to life and retakes the name (assuming the Ultimate Universe survives at all). The new guy will either die heroically in the process or will get a new costume and powerset. This will all be hugely hyped to the mainstream media as how they're bringing Spiderman back to life.

"retard" and "tard" is hate speech, no matter your intent. It's a new thing going around, so don't feel bad, but it's right. There's no need to say it, it hurts feelings and you should stop doing it.
Unless you're a bad person.

I don't think I used either of those words (not because I think I shouldn't but because the context doesn't really fit) but people have a right to say what they want even if it does hurt someone's feelings. We don't have a first amendment to protect people's right to pleasant speech.
I find it ironic that your ability to codify who's racist and who's a bad person is apparently aligning you with Sarah Palin, who went off on a similar rant.

There's no need to brign Peter back. He still exists. Why would they? This is a different situation. The fact that Peter is still out there changes it from all the others. It might as well be a different book... oh wait, it is...
Sorry kids, Black Spider-man is here to stay. Can you dig it?

I haven't earned your respect?!? I know you can't see this, but right now my eyes are huge and watery and my lip is quivering. I swear.
Also, using the term "gay" as a way of saying "stupid" is also hate speech.

You called new USM black Spidey. He's black-hispanic Spidey.
With the way you've intentionally disrespected his hispanic heritage, it's obvious you hate Hispanic people. I bet you're one of those trolls who goes on message boards and talks about shipping them all back to Mexico. Man, racists like you make me sick.
Sick I tell you.
Fortunately, people like me exist to help correct you in your bigoted and hypocritical ways. You'll do well to listen - unless you're a bad person.

People loved Bucky as Cap and Wally as Flash and Dick as Batman for a reason: they were existing characters with back stories, a history, a theme that tied into the "worthy prince ascends to the throne" classic archetype. I mean, who HASNT been waiting to see Dick put on the cowl, seriously?? Aside from the most stuck-in-amber traditionalists? And remember, IM THE ONE WHO COINED STUCK IN AMBER!! I PATENTED IT! I'm far from a change-hater, I love change! What I dont love is random dude getting introduced out of absolute nowhere and being handed the mask of the biggest super hero that Marvel has. Could it be good? Sure. Is there anything at all, anything in the entire history of comics, to suggest it will be, or that anyone will have any interest in reading it a year from now? Absolutely not. Every single time this gambit has been tried, without exception, it has failed, utterly and completely, creatively and commercially. Could Bendis pull it off? Sure, as long as we understand that he would be pulling off something that no other creator in the history of comics has been able to pull off. I take that back, there has been one time where it worked ("it" being the introduction of a completely brand new, from-scratch character to assume a hero's identity): Kyle Rayner. Thats it. Thats the beginning, middle, and end of the list of successes.

See, I agree with that, too (although I don't know enough about the history of the superhero universes to know for sure if its entirely correct regarding never having worked before). And there's not one bit of racism involved with your opinion/argument (not that you needed to be told that, I'm just sayin').

I'm no more racist then the dirt in my front yard. I'm the same guy who was in here 3 weeks ago saying that Fear Itself sucks because they brought in some schlep-rock villain that no one has ever heard of before and are trying to paint him out as the end all be all, which has never ever worked almost EVER (Onslaught, anyone? Doomsday? Doomsdat sucked from minute one and still blows). Ive always been completely consistent on this argument: Trying to build major events around that type of character is almost impossible (Once again, its only worked once: The Anti-Monitor). It takes absolute genius level ability to pull that off and make it work, although I'm not sure Marz would qualify as a genius, Rayner or no Rayner. So Joe, I didnt NEGATE my argument, I PROVED it: its really really really really hard to bring in a character with zero background, hero or villain, and propel him into a huge leading role with no build up or preamble, and make it work. We are talking once-every-ten-years level of difficulty. Does Bendis have it in him? You argue yes....or more like "I dont know, but I lean towards yes". I would argue "Sure its possible, but highly unlikely". We shall see who is correct. And thus, your skin-color-free argument over why this is a bad idea. Which isnt to say there arent racists out there who hate the idea of a black Spidey, but who cares? Meh.

First off, I care, because it's wrongheaded thinking that only hampers us as a nation and world. So, while it seems small, it is important to root that shit out and expose it to the light of day.
Secondly, if you have learned nothing by now, it's that I am always the right one. I'll let you be partially right since you are somewhat on my side, but mostly: Me. Primus in Toto.
Finally, it happened once, it can happen again. But honestly, people are looking at this as a new spider-man and I don't think that will last. I think he will end up finding his own identity eventually.
Regardless of all that, I support this 1. Because I like Bendis. But 2. because, as much as I love these characters, still do, and always will and I don't blame them for this because they are a product of their time, the fact that the main roll call is basically all white and all male (with a few notable exceptions, yes) makes me a little uncomfortable and so I support any honest and sincere effort to show a little diversity and that's what I think it is. Honest and sincere.

Goose... he TOTALLY has MAJOR build up and preamble. MAJOR! Not only from the death of Spider-man and Ultimate Fallout, but more importantly, from right here and all over the internet right now.
Welcome Miles Morales!

The scenes between Odin and Galactus, Surfer and Thor, Loki's subplot, the art. And above all it was a fun read that youdon't just read once but will go back and read again in the future.
It also answers the question of: If Odin and Galactus clashed what would the fight be like?

and the price he paid to keep his world safe. This issue really sums up the weight Nick has carried to keep his world safe.
His conversations with his companions, proteges and friends shows a tired man who has carried so much sadness in him because of what he asked of others and himself.
But as always Nick had a plan as this issue shows and I'm interested to see how it plays out in the marvel universe.

i doubt he's actually racist...just trying to be funny or get rise out of people.
good at basketball...i'll give you that one.
since when is 'black people being good at yard work' a stereotype?
that's just lazy. If your going to make a racist joke at least make it funny! otherwise its offensive on two levels...
CHOPPED!

...because, well, I think he is stuck in amber, and I dont like the amber he is stuck in. Hate Hate Hate his supporting cast. Only liked when he dated Black Cat.
...I figure the new guy will be a mixed race Peter Parker, so why bother?
Jaime Reyes, for example, brings needed diversity, but he, like Parker, is dull as toast.
Ill stick with Luke Cage, and Black Panther wyen Priest wrote him. Cant think of one single good, i teresting latino hero..
Firebird? Livi g Lightning? Blue Beetle? No, noand no. Feral is the best oneI can think of, and shes been deadfor years.